Category: Museum

Museums Heritage and Society

In 1980s museums were majorly small-scale ventures which were devoted to numerous topics but the commentators focused on large organizations. The independent organizations were concerned with the previous industrial past of the museums. The independent sector, as a result, was associated with heritage as opposed to established public museums. Britain is experiencing cultural booming with new heritage and museums opening at a fast rate as people pick up their heritage trails. The museums are now considered a major industry not only to Britain but also to other different continents such as Australia, the United States and some parts of Europe. The study of the museum over the past has been regarded to be specialized and mysterious with the capacity to trace artifacts’ culture, location and time. The research is based on the historical collaboration practices, processes, social relations, heritage and exhibit design of the museum (Meecham 2018). The research further studies the New Museology concept that was pointed out by Peter Vergo and other historians concerning the heritage of the museums. In so

Introduction

The New Museology was regarded as a social institution facilitating political agenda due to its inherent shared assumptions linked to social multicultural groups. New Museology questions traditional museum approaches regarding the interpretation, meaning, authenticity, authority, and value. Criticism of the museum from spectators and players has been an intellectual sport over the years (Vergo 1997). The criticism belittles the old concept as irrelevant and proposes to adopt reformed strategies for better service provision from the museums. The implementation of the reforms was granted to the ineffectual constituency which was committed to the institution’s future.

The relationship between museums and history has close kin from interpreting and gathering materials from the past. There have been conflicts of taking the role of representing the meaning and purpose of the past museum which has turned into a battlefield. Museum history is primarily taught by museum professionals as well as visual and cultural studies individuals. The initial intention of museums’ establishment was to retrieve artifacts from the original environment and circulate them as private property throughout the world projecting a new meaning. The extensive private collection was initially held and open for a few members of the public for educational purposes and experiences (Barrett & Millner 2016). The result of the trajectory led to the birth of museums in England. John Lambeth in the 17th century opened a spectrum of collections to the public which was visited on payment of a specified fee which was known as ‘The Ark’. The accumulation of the entity was owned by a single person but later on, the powers were passed to Elias Ashmole who in turn donated collections to Oxford University hence the term ‘museum’ emerged.

The University turned the nature of the museum into a public foundation rather than a personal collection. The process of transformation of museums from private to public institutions is also evident during the foundation of the British Museum. the origin of the collections present in the British Museum is attributed to Sir Hans Sloane private collection. Hans collections were first presented in the Great Russell Street and later on in Cheyne walk. The collections were available for public viewing and were arranged in a systematic classification and order. Hans will state that the collection to be purchased with the values of ₤20,000 and payment made to his family. The preservation of the collection remained the same and was adjusted in terms of perpetuity and public views.

The acquisition of the artifacts was beneficial to the public, especially for Montagu House in Bloomsbury. The museum was not only for entertainment, inspection or to satisfy the curiosity of the learners but was meant for general use which was beneficial to the public. In the 19th century, the foundation of the museums was accepted while the government strongly supported principles administered to the museums. The first principle suggested that the collection and display of the artifacts should be for educational purposes and the enhancement of knowledge. The second principle suggested that the artifacts should be arranged in a systematic way that can be recognized through classification. The third principle stated that artifacts should not be owned by a private individual but administered to more than one owner on behalf of the public. The last principle states that the artifacts should be easily accessible to the public and a special fee arrangement to be quoted to the public.

The principles provided meaning and enhanced the degree of idealism during the boom and establishment of museums during the period. The classification of the museums enhanced the order and meaning from objects thus giving out unique experiences from the bewilderment of rocks, poetry, metal implements and fragments (Alexander et al 2017). The different compositions of the artifacts make the viewer look for details that project their uniqueness. This proves that the visual experience is not the only cause that triggers museum visits. The feeling triggered by the composition of the images and their idea promote the beauty of the crafts, antiquity, authenticity, and poignancy of the collection is catapulted towards a fantasy world.

The New Museology almost deals entirely on museum information, the pragmatics of acquisitions, data based on the institution’s support and interpretive displays. Data collection in the museums is categorized from institutional archives, public relations, registration files, administrative data, curatorial records, personal files, financial records, and correspondence among others. The categories of the data collection are usually separate from one another in terms of technology metal filling and paper card filling. Documents and data storage in the museum are complimentary thus become part of the museum’s mission to preserve them. The heritage debate that occurred in the 1980s was concerned with inauthenticity, nostalgia, and commercialism.

The question of heritage has grown over the years to other parts of the continent such as Australia, America and in Africa addressing the issue of reconciliation, identity, community, trauma, inclusion, and exclusion. Robert Lumley states that the Anglo-American debate that occurred in the 1980s continues to influence the direction concerning heritage. Peter Vergo was dissatisfied with the ‘old museology’ on the basis of values, politics, and history. According to Mathisen (2018), the emergence of interest concerning The New Museology was associated with the intellectual development of cultural studies, social history, and the quest of knowledge advancement. The period was connected to the massive development of museums. Statistics show that at the beginning of the 20th century Britain recorded 530 museums which were mostly funded by the government and the local authorities.

The figure rose from 900 to 2500 between 1960 -1980s which prompted commentators to claim that the rate of opening museums is almost after every night. Globally, statistics show that more than 95% of the museum was opened after World War II. The majority of the new venues were entrenched by private individuals, a group of individuals with special interests or businesses. The characteristics of the new venues were usually operated on a low budget, concentrated on non-academic subjects, and had a small number of working staff (Mathisen 2018). Kenneth Hudson claimed that the change of subject matter and style was revolutionary in the entire world. The new independent venues challenged the existing practices which lead to the debate on character and the role of the museums. The newly acquired practices were equally a subject of analysis specifically during the 1980s heritage.

The opinion regarding the new independent venues was discussed by historians, journalists, art practitioners, and cultural theorists whose opinions were aired on a national newspaper. In the mid-1990s, British universities offered courses in the discipline which covered buildings, theme parks, landscapes, intangible cultural practices, attractions and museums (Halpin 1997). The New Museology took another angle from social histories of art, history, post-structuralism, literary theory, and heritage studies adapted from geography and archeology.

The 1980s heritage debate

The debate was discussed widely Robert Hewson being one of the main contributors airing his views in his book titled “The Heritage Industry: British in a Climate of Decline’. The first paragraphs of his book invoke the constant rise of the number of independent museums which were producing heritage rather than goods affecting the county’s economy. The argument behind his claims putting Wigan Pier Heritage Centre as a primary subject, he stated that there was a collapse of industrialization in that area. The number of collieries had declined from 400-11 and over 100, textile mills had been closed and there was no more canal traffic by the year the 1950s. Unemployment rose to over 18% by 1983 in the country due to the closure of industries (Stam 1993). The difference between traditional and new independent museums was also highlighted by historian Raphael Samuel who celebrated heritage.

Raphael argues that the rise of independent museums was not, in any case, a symptom of deindustrialization as argued by other commentators. He claimed that the emergence of the rural museum was as a result of the mechanization of agriculture, the development of diesel trains, and industrial collection which spurred employment during the 1950s and 1960s. Samuels’s evidence concerning his argument was based on the structure of building from the past and the present skyscrapers of the future. Samuel further claimed that the independent museum had an impact on the growing democratization in history. Samuel wrote that history was a form that presented professional historians with knowledge through archive-based research which encouraged introspection and inbreed addressing small groups of practitioners. Samuel further suggests that the emergence of small independent museums strived to retrieve historical information, which was a source of knowledge and had different support in their work thus they should be appreciated. Neil Ascherson’s remarks were harsh stating that an individual can result to pay for an experience in the coal mine whereas visitors walk through full heights galleries. The comment was meant for effectiveness and not accuracy. Raphael, Neil Ascherson together with other professionals engaged in harsh criticism based on the subject of heritage.

By the year 1980, the public sector museum came under constant pressure of attaining economic independence. The public museum had evolved and became commercially-minded hence not counting on public subsidy due to high expenditure rate. In the present eras, museums have expanded and opened cafes, gift shops, restaurants and other money-making enterprises including the introduction of entrance fees. The policy change affected the attitude towards museums between the 1990s and the 2000s. Entrance fees of museums were dropped as a result the museums received funding from the Department for culture, media, and sports (Pearce 2010).

Direct funding of the museums was a strategy set to attract more visitors from different ethnic structures hence increasing the number of children visiting the museum to around 7 million. For the museum to attract more audience, they needed user-friendly technology for advertising their collections such as pamphlets and wall texts. Educational programs were intensified in order to make the collections more accessible to different audiences. The museum curators began to provide services to children and disabled people. Visitors were given the opportunity to further their interest through the provision of multimedia resources.

The new museology concept has impacted the present museum all over Australia. The concept highlights strategies of maintaining the national heritage, and providing knowledge to different professionals as well as ordinary people with the available resources. The contemporary art museum exhibits collect and interpret art globally and across Australia. The museum is well-located and exhibits lots of colors that are attractive to children (Nieroba 2018). The contemporary art museum offers art baby programs like tummy time activities and museum tours for babies between ages 0-12 months. The contemporary art museum engages in exhibition which entails special events such as solo exhibition, thematic exhibitions, new work from upcoming artists, sculptures, and programs that covers a wide area of diversity (Cole & Brooks 2017). The contemporary museum is one of the country’s unique shopping destinations with modern stores pursuing global contemporary art. The stores also pursue outstanding gifts and cultural publications. The new museology is relevant in the present museum setting in Australia. The concept of the new museology was promoted by self-driven projects of funding public museums unlike the previous allocation of funds from different departments of the government. The dependency of the museum was on the commercial viability of the entities to sustain them.

Last week I had an opportunity to visit a famous art museum in Iowa. It was the Figge Art Museum in downtown Davenport. I’m not a fan of art but visiting a museum has always been an enjoyable experience for me. I wasn’t surprised to see all kinds of people speaking different language from different backgrounds and some from foreign countries. The building of the museum is awesome and a source of attraction. The staff is helpful and knowledgeable.

The building was divided into many according to the historical subjects and times. Each section has different exhibits. There is also a room for children to make art of their own. The new exhibits are excellent, inspiring and well-designed on the third and fourth floors. Across different parts of the museum, there are several types of works of art exhibited. There were different collections of art works displayed in the museum such as American art, French art, Greek and Roman art etc. The works of art contains different forms.

I had the opportunity to see many beautiful and fascinating works of art in the museum, but at the moment I’m going to talk about the following two pieces by French Artist: ‘The Little Cook’, 1858 by Pierre Edouard Frere and ‘The Breakfast Room’ by Pierre Bonnard.

First, I’m going to talk about ‘The Little Cook’. This work entitled ‘The Little Cook’ was directed by Pierre Edouard. When I first looked at this work, it was hard to believe that it is a painting. This artist was born on January 10, 1819 in Paris and died on May 23, 1886 in Ecouen. He was a French painter and lithographer. He is the younger brother of the orientalist painter Charles-Theodore Frère. This painting was made in 1858. This canvas belongs to the realistic current.it is a rural scene and it is a figurative painting. The technique is oil on wooden panel. This painting is a scene from the life of a little girl who is in a rustic village and engaged in various activities such as domestic work. In the foreground we see a little girl sitting next to the stove with ladle ready to stir the soup. In the background we see the vegetables next to the girl. At the back you can see the table on which the plates are on. The artist used dark color to signify the opposite of wealth. The eye is attracted to the little girl who wears a coffee dress and sits with a sad face. This work allows us to discover the work of art.

The second piece of art is ‘The Breakfast Room’ made by Pierre Bonnard. It is a painting as well as the first one. Pierre Bonnard was born on October 3, 1867 in Fontenay-aux-Roses (Hauts-de-Seine). He was fascinated to drawing and color very early on. At drawing, gravure, illustration, painting and different subjects he tries his hand: landscapes, still life, portraits. This painting was made in 1925 and it belongs to the impressionism. This is a figurative painting and a life scene, and an oil on canvas. We’re going to see a person sitting next to a table and a child behind that person in the foreground. There’s a fruit basket on the table in the second plan. There’s a bouquet of flowers on a cupboard in the background. The artist used the colors in this painting: red, orange, and white for humans. These are colors of joy or happiness. The yellow color is associated with good mood in this painting. The eye is attracted by the breakfast in this painting. This scene is inspired by real life and it illustrates the link between the artist and real life.

It was a great trip to this museum. I have learned and had fun a lot. It was great and interesting looking at those beautiful, amazing work of art of artists. It is truly a museum for everyone, nice building with lots of wonderful exhibitions and nice variety of works. It is a good museum for our community.

References

1. “Pierre Bonnard – 235 Artworks”. https://www.wikiart.org/en/pierre-bonnard/all-works.
2. “The Little Cook (La Petite Cuisinière)”, Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/4366/The_Little_Cook_La_Petite_cuisinière.

Introduction

The question “Do museums still need objects?” is a provocative question that intrigued me to review the existing literature on museum objects. I wanted to determine whether there exist arguments in favor of objects being in museums, or whether they have completely become redundant in the world of museums. I could not believe that museums can exist and function without having any objects in them at all. Nonetheless, after a thorough review of some of the existing literature on museum collections and objects, I started to realize that we cannot categorically say yes or no to the question at hand when it comes to the need for objects in museums.

I cannot provide a definitive answer to the question, ‘Do museums still need objects?’ given the complexity of the function of museum collections (Conn 20-58). I intend to approach the question by analyzing the changing nature of the relationship that exists between museums and museum collections over the years. In particular, the paper will explore the changing role of objects in museums as well as the different roles they play based on the type of museum that they are found to determine the need for objects in museums. It purposes to explore why museums display objects, the reason for the difference in perception of objects in different types of museums, and to determine whether objects are not as important as they once were in the function of a museum.

The Function of the Objects Placed in a Museum Display

When one makes a visit to a museum, all he or she expects to see are objects, of whatever shape or form, displayed throughout the premise. In the late 18th Century and early 19th Century, when museums first emerged, they were perceived by many as public institutions housing keen collections of people who would like to share their findings with the members of the public. As the existing museums began to expand and new ones erupted in the 19th Century, many museums realized that devoting themselves to the collection, organization, and display of particular categories of knowledge was the only rational way for them to make sense of the world. Thus, they began focusing their efforts on engaging with their collection and careful considerations about the object’s function within the displays of the museum. Samuel Alberti states that museums cataloged, stored, and did research on objects (Alberti 567). He also adds that objects were subject to classification, categorization, analysis, and comparison (Alberti 567). Therefore, objects on museum displays were not there just to be looked at by the visitors. Instead, they would also serve to appeal to the visitors who would engage them further on the subject matter at hand.

Increased changes, needs, and developments forced museums to begin using objects within their collections in a different way. Knell says that the idea of continual re-evaluation and reinterpretation by museums is vitally important as it enables them to remain object-centered oases in a changing world (Knell 46). Museums have been forced to change the approach taken when making decisions on what to display as well as the manner or way in which they are displayed to enable them to achieve the required changes. Apart from having to reconsider the objects already in their possession, there has also been a need for museums to carefully consider the additional objects that they would like to add to the ones already in their possession (Conn 52). To begin with, the 20th Century saw many museums beginning to minimize the number of displayed objects – something that we can still see in most museums of the present day. For instance, natural history museums no longer display a complete collection of specimens in their possession. On the other hand, art galleries have moved away from displaying their paintings all over the ceiling, floor, and walls.

The museums’ idea of reducing the number of objects displayed to the visitors, on the surface, sounds like a sensible idea given that having too many objects on display may end up making the visitors overwhelmed. Having too many objects on display increases the chances of not doing a detailed interpretation of the objects, thus leaving many with no detailed explanation of their reason for being in the display. Having fewer objects enables the museums to provide the intended stories concerning a particular object successfully and to kill any possibilities of telling alternative stories concerning the object that may arise due to inadequate explanation (Conn 23). Even Elizabeth Wood and Latham Kiersten support this idea of having fewer objects on display for a detailed explanation by stating that museums should do have fewer objects and provide detailed information given that objects cannot speak for themselves (Wood and Kiersten 121).

Moving on, getting to grips with the different types of collections in their possession is another issue that many museums have had to get used to for decades. In many cases, especially in instances where a museum had been established to showcase a single person’s collection primarily, the types of objects owned could be quite diverse to the extent that it forces the organization to place them in different categories. When it comes to the use of anthropological objects in museums, Conn argues that some natural history museums have found themselves taking care of some collections that most of them wish were not in their possession (Conn 34). He also points out that these museums are now considering and displaying some objects that were once considered anthropological as art (Conn 34). Doing so makes some sense, given the continued reinterpretation of objects. Simon Knell supports this idea by pointing out that “Many objects in natural science collections may have little use to modern science but are rather objects of history and culture” (p. 28). There is no need to get rid of an object if it can still be utilized in communicating a narrative to the visitors. We should understand that an individual collected some objects to meet the needs of particular interest during that time and that the collector(s) did not consider how such objects would be used several decades after their collection.

It is always advisable to consider the culture or place that an object is from or even what it represents when attempting to reinterpret the object. It may happen that there exist various stories attached to an object that one can tell about it. However, failing to consider the origins of the object may result in the delivery of a false impression of the object to the visitors. One can understand an object only by considering the cultural context in which the object was produced, as well as the new circumstances into which the object has moved (Joy 545). However, because of the sacred nature of the objects in some cultures, access to knowledge about certain objects as well as their interpretation rights may be limited or controlled in some communities. Perhaps, this probably explains why some non-western museums lack their collections, although they still use objects. According to Christina Kreps, some cultures have devised ways to preserve and display their past without the need for them to form museum collections (Kreps 464). Instead, such cultures have resorted to the production of replicas or borrowing objects for their display (Kreps 464).

The current position occupied by objects in museums varies from one museum to another. In some cases, objects are instrumental to the functioning of museums, while in others, their role has significantly been reduced. In other museums, objects are virtually nonexistent in galleries as they have been replaced by interactive technologies and audio-visual (Conn 20). The 21st-century museums have developed different improved ways of representing and narrating stories to their visitors. Some museums have resorted to the use of a mixture of audio-visual and live performances to increase the visitors’ experience. Mobile devices have been developed to the point where people can experience geo-tagged historical content while walking around in the world. For instance, the Museum of London’s street museum mobile application allows users to pull up images from another era and compare them with now as they walk around London.

Despite the new technologies used in different museums, most museums usually employ such technologies alongside their existing objects. Steven Conn argues in his book that objects have no place in museums because many people no longer believe in the objects’ ability to convey knowledge and tell stories (Conn 7). However, the increasing use of interactivity in museums across the globe should be seen as an instrumental addition that can help us to explore objects’ stories and meaning instead of perceiving it as an end of the use of objects in museums. The traditional object-oriented museums should not be overlooked but preserved as we move forward into a new dimension characterized by interactivity. The demand for interactivity has increased drastically. As the younger generation increases to make a larger percentage of museum visitors, many history museums across the globe continue to expect that their visitors will want to interact with their objects by tagging and commenting. Some museums are yet to embrace these new demands as they still maintain good old-fashioned touching. Most of the objects are still held behind closed doors, velvet ropes, or glass. As long as the interactivity elements being employed in a museum do not alter the intended narrative of an object to the visitors, then I would encourage the use of such new technologies. After all, the primary objective of museums today is to be educational.

Conclusion

In summary, the reviewed literature in this discussion concerning objects in museums has revealed the dramatic change in the use of objects in museums given the evolution of museums’ functions. Despite the evolution and changes experienced in the function of museums, the place of objects in museums can never be obsolete as objects are still a significant part of museums. The place of objects in museums will continue to be there despite the change that comes by. Nonetheless, museum objects must have the ability to communicate with visitors by encouraging a higher level of interaction than they did in the late 18th and early 19th Centuries when they first started to operate. Museum objects must have other values apart from the age that increases their worth. Walking through a museum should be like walking through history. As one moves from one object to another, he or she should be in a position to see progressive developments or evolutionary changes in form, style, mentality, value, or invention. Objects are instrumental in improving a visitor’s experience whenever he or she visits the museum. Objects can be reinterpreted (Knell 38); hence, museums should not be afraid to continuously assess the objects in their possession and see to it that they are communicating adequately to the public whenever they come for a visit. Concerning the question of the need for objects in museums, I tend to believe that it is important to have them in museums despite the increased use of technology in the world today. Our life today has become so complicated, crazy, and unreal, thus making it reasonable to visit museums to have something real and authentic in our lives. Objects are our mark of authenticity and set museums apart from other forms of culture. Thus, I believe that museums still need objects. Nonetheless, there is still a need for a concerted effort to enhance objects to prove their value in educating and communicating stories to museum visitors on various subjects that interests them.

Works Cited

1. Alberti, Samuel JMM. ‘Objects and the Museum.’ Isis 96.4 (2005): 559-571. Print.
2. Conn, Steven. Do museums still need objects? Philadelphia: the University of Pennsylvania Press, 2010. Print.
3. Joy, Jody. ‘Reinvigorating Object Biography: Reproducing the Drama of Object Lives.’ World Archaeology 41.4 (2009): 540-556. Print.
4. Knell, Simon J. Museums and the Future of Collecting. New York: Routledge, 2017.
5. Kreps, Christina. ‘Non-Western Models of Museums and Curation in Cross-Cultural Perspective.’ A Companion to Museum Studies (2006): 457-472. Print.
6. Wood, Elizabeth, and Kiersten F. Latham. The objects of experience: Transforming visitor-object encounters in museums. New York: Routledge, 2016. Print.

On 28th June 2019, Friday, I participated on a short trip with my classmates from the course MPU3412 Social Responsibility to the local heritage-preserving museum called the Muzium Negara, which provides an overview of the rich Malaysian history and culture over the past sixty years. As a matter of fact, Muzium Negara or the National Museum building was established and inaugurated by His Majesty the 3rd King of Malaysia on 31 August 1963, six years after the independence of the country in 1957 (Muzium Negara, 2019).

For this educational tour, I, with my group, reached the museum located on Jalan Damansara in Kuala Lumpur together on time at 2:00 pm by taking public transportation, the Mass Rapid Transit (MRT) Sungai Buloh–Kajang line. After purchasing tickets for entry, we were soon assigned under a very knowledgeable and entertaining tour guide named Mr. Jeffrey who showed us around the meaningful place of interest. During the visit, the respectful tour guide led us to the four main galleries of the museum, which are: Gallery A – the early history, Gallery B – the Malay kingdoms, Gallery C – the colonial era of Malaysia and Gallery D – the present Malaysia. Throughout the tour, I worked in a pair with a partner who would take down the points explained by the tour guide while I would take photos of the collection of heritages present.

Three Highlights Learnt in the Tour

There are three main highlights that captured my attention during the recent Muzium Negara visit. Foremost, it was the replica skulls of Homo Erectus and Homo Sapiens that were being displayed in the museum. This discovery describes the human evolution from Homo erectus to Homo sapiens from their respective skulls. The skull of Homo erectus (upright man), also referred to as the ancestors of modern humans displayed on the left, and the three skulls of Homo sapiens (wise man in Latin) displayed on the right showed many significant differences between the stages of human evolution over the past million years. One of the most notable differences between them is their brain sizes. The brain size of the ancient Homo erectus species was much smaller, accompanied by a larger face compared to the Homo sapiens species, which is also called the modern humans or what we are today. Additionally, studies also showed that Homo erectus’ skulls were thicker than modern humans’, with a prominent brow ridge present over the eye sockets, and their lower jaw lacking a chin (Hendry, 2018). The growth in brain sizes over the human evolution is said to accommodate the changes in cultural and linguistic complexity, dietary needs and technological prowess, by ways of accentuating the brain regions related to depth of planning, communication, problem solving and other more advanced cognitive functions (Hawks, 2013), in line with Mr. Jeffrey who explained that we simply think more in present days using our brains than our ancient ancestors as the world gets more and more advanced in all aspects. Therefore, to me, it should be taken as a privilege to possess the cognitive functions of a brain, and the ability to think and analyze things as the development of human brains never came easy but took millions of years instead.

Next, the second highlight of this tour is cave paintings or drawings that were believed to be done by the ancient people of Malaysia a few hundred or thousand years ago. The cave paintings were found in many locations around the present Malaysia including the early ones in Gua Tambun, Perak and Gua Kain Hitam in Niah, Sarawak which were believed to be done about 2000 years ago, as well as some others which are more recent, done approximately 500 years prior, like those discovered in Ulu Kelantan and Gua Kelawar, Perak and so forth. For instance, the cave paintings or artwork found in Gua Tambun, Perak were drawn and dyed using haematite, interpreted in such way since the red-colored iron-based rock can be easily found around the cave (Price, 2014). Some cave paintings were done using a mixture of charcoal and tree sap, such as the artworks found in Ulu Kelantan, Gua Kelawar, Perak and Gua Badak, Perak as well as those in East Malaysia such as the cave paintings in Gua Sireh, Sarawak and Hagap Bilo, Sabah. These cave paintings are significant and surprising to me as they show and further prove that the ability to think symbolically and creatively is a unique human or personality trait that has existed over thousand years ago.

Moreover, the cultural heritage inherited from the past generations of the Straits Chinese community also caught my eyes during the tour mainly because of how unique and interesting their culture is to me. The Straits Chinese community or the Peranakan Chinese is an ethnic group descended from Chinese who came to and settled in Melaka while socializing with and marrying people from the local community, namely the Malays, in the 15th and 16th centuries. Through this, it formed a new community where Malay culture is adapted and assimilated with their very own Chinese identity, religion as well as cultural heritage. Members of this community in Malaysia address themselves as Baba Nyonya where Nyonya is the term for the women and Baba for the men. This community also developed a unique character of their own culture over time such as that they speak fluent Malay language besides wearing baju kebaya with batik sarung as their norms. Furthermore, the Straits Chinese community is famous for its porcelain wares of strong and bright colors – red, green and yellow. These unique ceramics of the Baba Nyonya, also known as ‘Nyonyaware’, were once so highly priced in the local antiques market that a lidded pot would cost over RM60,000, as the colorful products attracted and caused intense rivalry among numerous antique collectors in Malaysia and Singapore (Wong, 2007).

Significant Element in the Tour

The one significant element that I find most interesting in this museum visit is the Bunga Mas or the Golden Flower displayed in Gallery C of the National Museum. The Bunga Mas or the Golden Flower was a tribute, or a gift sent by the Sultans of the Northern Malays States of Kedah, Kelantan, Terengganu, Patani and so forth to the King of Siam in Bangkok as a token of friendship or diplomacy. In brief, the tribute consisted of two small trees made of solid gold and silver, in addition with costly gifts of weapons including shields and spears, goods and slaves which would be sent every three years to King of Siam. This culture of sending the Bunga Mas to Siam began in the 14th century and ended with the establishment of British rule in most of the Northern Malay states under the terms of the Anglo-Siamese Treaty 1909 (Andaya & Andaya, 1984). This is the most significant disclosure to me because of how artistically and beautifully it was crafted and presented even though the craftwork has since existed 600 years prior. It shows that time does not place a limit on the creativity of humans and artistic as a personality or trait is never restricted by space-time continuum. This element also amazed me as it was made of pure solid gold and silver which is extremely rare to see such a craftwork these days. The materials used in making the Bunga Mas also indicates how resourceful the Malay states were in terms of raw commodities which made the kingdoms as powerful as they were. This has taught me that it is vital to know our own strengths as it gives a better understanding of oneself and how he or she functions besides keeping one ahead in a lot of things and helping him or her to grow more as knowing what we can excel at enables us to aim higher and achieve much more (Pillay, 2014).

Thoughts-Shifting on Being a Responsible Citizen by the Tour

This educational tour to the National Museum has transformed me into a more responsible and patriotic citizen mainly due to my improved understandings of the way our nation achieved independence in 1957 and the establishment of Malaysia in 1963, which did not come easy even a bit.

As the group and I, led by Mr. Jeffrey, walked through Gallery C of the National Museum which displayed the history of the colonial era of Malaysia and the path to national independence, I understood that the formation of our nation was ultimately realized thanks to the leaders and politicians of all races and all regions in Malaysia, as well as the loyalty and the consensus of the people to their country which acted as a catalyst to achieving independence from the colonization of British. The greatest example is the contributions of our Father of Independence – Tunku Abdul Rahman Putra who, throughout his lifetime, has shown a high sense of identity to liberate the nation from colonial grip. Involvement to fight against the Malayan Union, driving UMNO leadership through the change of slogan form “Hidup Melayu” to “Merdeka”, and the organization of the inter-racial strategy with the cooperation of the Malay Rulers Council have proven Tunku’s leadership to achieve independence peacefully through the negotiating table. As a result, multiracial and religious Malaysians are now free to practice their customs, culture and beliefs and live in peace and harmony.

Therefore, after knowing the history, I have had a change of mind to make peace with other races in order to preserve the racial harmony that was built and maintained by the past generations. I feel that it is not only my responsibility, but the responsibility of all people in Malaysia to prioritize the unity of all races existing in the country. Racism and prejudice or discrimination towards other races should not be practiced not only for harmony but also national safety, with the 13 May 1969 incident presenting us the most tragical consequences of racial tension in the history of Malaysia. Moreover, I have learnt that we should always respect and be loyal to the His Majesty and the country besides obeying the national constitutional laws all the time, in accordance to the responsibilities of a responsible citizen. Last but not least, I as a citizen of Malaysia am also responsible for taking part in the Malaysian general election as it aims to elect the best candidate to be the leader of the country who will then be responsible for managing the nation and leading it to become a developed country in the future.

Self-Reflection on the Whole Visit

The whole visit to the National Museum was delightful as I understood that the human civilization that we have in present days was achieved in multiple stages, bit by bit that took million years. From here, I have learnt to not to take things for granted or value things too lightly but to appreciate and give recognition to anything that is given to me. I will not expect someone or something to be always available all the time to serve as nobody is assumed to never lose something forever. This represents a change in my attitude towards things and people, from the old me who was somehow unappreciative for things and easily frustrated when things do not work out in the way I would like them to, to the new me with much more gratitude and respect stored in my heart.

Furthermore, this visit also turned me into more of a tolerant peacemaker as I understood the importance of diplomatic and peaceful relations between nations towards building national security by preventing conflicts and contributing to the development of a nation through economic and societal benefits. During the tour, I was exposed to many international organizations that aim at establishing world peace such as United Nations (UN) and UNESCO when the group made our way through Gallery D of the museum. Instead of making and preserving peace at a national level, I have learnt to apply it on the personal level and learnt to be more tolerant towards others. Developing peaceful relationships and being tolerant with others are essential to building a harmony community and society as misunderstandings between people will be greatly minimized. Nonetheless, tolerance is important to be fostered among citizens especially in a multiracial society with multireligious and multi-ethnic communities like Malaysia for the betterment of the nation.

After all, this tour has taught me many life lessons that I did not know I needed. This educational tour to Muzium Negara can be said as helpful and will be one of the most memorable trips I have ever taken part in as it has helped me reflect my own weaknesses and subsequently make a change to be a better man.

Conclusion

In short, I am grateful for Ms. Sara for arranging this educational tour to Muzium Negara as it was indeed a helpful and eye-opening experience to me. Through this tour across four different galleries, I have gained more knowledge on what happened in the past, ranging from what humans do daily in different eras or ages such as the Paleolithic period and the Bronze Age; to the history of Malaysia including the events that unfolded during the pre-independence and the post-independence periods of our lovely country that made Malaysia become what it is today. I am also thankful for the knowledgeable and well-informed tour guide, Mr. Jeffrey for trying his best to explain everything to us without feeling any frustrations or impatient. All in all, I sincerely feel that I am very fortunate to have taken part in such an informational tour with my classmates that actually made me become a more responsible and patriotic citizen as well as a better person in all aspects.

Introduction

The World War II Museum and Pearl Harbor are two iconic sites that offer visitors a profound glimpse into the events that shaped the course of history. As a history enthusiast, I recently had the opportunity to visit both places, and I was captivated by the rich narratives and immersive experiences they provided. In this narrative overview essay, I will share my journey through the WW2 Museum and Pearl Harbor, highlighting the significance of these sites and the impact they had on me.

The World War II Museum

My journey began at the World War II Museum, located in New Orleans, Louisiana. The museum stands as a testament to the bravery and sacrifices of those who fought and lived through the war. As I entered the museum, I was immediately immersed in a world of historical artifacts, interactive exhibits, and personal stories. The museum beautifully presented the chronological narrative of the war, guiding visitors through the major battles, political events, and social changes that took place.

One exhibit that particularly resonated with me was the “Road to Tokyo” exhibit. Through authentic artifacts, film footage, and oral histories, I gained a deeper understanding of the Pacific Theater and the challenges faced by both the soldiers and the civilians. The museum’s ability to blend personal stories with historical context made the experience all the more impactful.

Another noteworthy exhibit was the “Campaigns of Courage: European and Pacific Theaters.” Here, I walked through life-sized reconstructions of European and Pacific battlefronts, including the beaches of Normandy and the jungles of the Pacific islands. The attention to detail and the realistic settings transported me back in time, allowing me to envision the hardships and triumphs of those who fought during the war.

Pearl Harbor

From the World War II Museum, my journey took me to Pearl Harbor in Honolulu, Hawaii. Standing on the hallowed grounds where the devastating attack took place on December 7, 1941, I couldn’t help but feel a profound sense of reverence. The USS Arizona Memorial, built over the sunken battleship, serves as a poignant reminder of the lives lost and the impact of the attack.

As I boarded the boat to the memorial, the tranquility of the harbor contrasted with the weight of history. Inside the memorial, I encountered names etched in marble, representing the fallen heroes who now rest beneath the water. The silence and solemnity of the space evoked a deep sense of reflection and gratitude for their sacrifice.

After the memorial, I explored the Pearl Harbor Visitor Center, which houses an extensive collection of artifacts, exhibits, and documentaries. One exhibit that stood out was the “Road to War” exhibit, which chronicled the events leading up to the attack. Through multimedia presentations and firsthand accounts, I gained a comprehensive understanding of the geopolitical tensions and military strategies that unfolded before that fateful day.

Conclusion

The WW2 Museum and Pearl Harbor offer visitors a unique opportunity to immerse themselves in the history of World War II. The World War II Museum in New Orleans presents a comprehensive narrative of the war, blending personal stories with historical context. Its exhibits transport visitors to the battlefronts and allow them to appreciate the courage and sacrifice of those who served. Pearl Harbor, on the other hand, serves as a solemn reminder of the devastating attack that propelled the United States into the war. The USS Arizona Memorial and the Pearl Harbor Visitor Center provide a profound experience that honors the fallen and educates visitors about the events leading up to the attack.

Both sites left an indelible impact on me, deepening my appreciation for the sacrifices made and the resilience shown during this tumultuous period in history. Visiting the WW2 Museum and Pearl Harbor was not only an educational journey but also a personal reflection on the human capacity for courage and the enduring importance of remembrance. These sites stand as reminders of the past, guiding us towards a future shaped by the lessons we learn from history.